Organic Grooves Vinyl 462 Items

New York based Jazz singer Helen Merrill moved to Europe after her London debut concert in 1959. as she is living in Italy for 4 years, Helen also performed Japan in 1960 and 1963.

Hank Mobley was inspired by 'Birth of the Cool' on his 1966 album 'A Slice of the Top' featuring Duke Pearson’s arrangements for an octet that added euphonium and tuba to a group with James Spaulding on alto sax, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums.

BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a gatefold sleeve with deluxe tip-on jacket.

After appearing on Blue Note albums by Ike Quebec, Hammond B3 organist Freddie Roach made his own run of soul jazz classics for the label including the standout 1963 date 'Good Move' featuring Blue Mitchell on trumpet, Hank Mobley on tenor saxophone, Eddie Wright on guitar, and Clarence Johnston on drums.

BLUE NOTE TONE POET EDITION: Mono, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a Gatefold sleeve with deluxe tip-on jacket.

Monstrous blue-eyed soul / garage double-sider and a must for any rare groove DJ.
250 copies pressed.

Why you'll love it...
There is something raw and disruptive about La Lupe and her modalities of performance, something that far exceeds tropes of so-called hysteria and all the gendered and racial scripts that come along with it. Uncontrolled expression opens up new routes; it presses against obligatory composure.

The boleros, boogaloos and salsas of Reina de la Canción Latina contain lessons about love, about a willingness to stay alive, about what it means to push against the confines. Reina de la Canción Latina asks us to listen to La Lupe outside of a binary mode — to look a little deeper, to find her personhood and to search for flashes of freedom wherever we can.

Donald Byrd was off to the races after joining Blue Note in 1958 and had fully hit his hard bop stride by 1961 with his excellent album "Royal Flush". Joining the trumpeter was a state-of-the-art rhythm section featuring Herbie Hancock on piano, Butch Warren on bass, and Billy Higgins on drums plus Byrd’s frequent collaborator Pepper Adams on bari sax.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas.
Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs.

Why you'll love it...
Creating harmony out of unlikely combinations was integral to Charles’ genius, and that’s evident with how effortlessly he navigates multiple genres on In Person, oftentimes on the same song. It’s an album that’s a testament to him as a versatile musical pioneer: someone who was unafraid to explore different ideas and sounds throughout his career, becoming a seminal figure in American music in the process.

Why you'll love it...
The songs that populate Odetta and the Blues are 1920s blues and jazz standards sung by the likes of Bessie Smith, Gertrude “Ma” Rainey, Mississippi John Hurt, Leroy Carr and other titans of the time and genre. Most are traditional, unattributable to any one songwriter — but all are linked to Black musicians. In this way, the album feels like an important (and understandable) aspect of Odetta’s quest to show America the myriad ways this country’s music wouldn’t be what it is without Black Americans.

Odetta makes each track sound timeless and true, but also utterly, entirely her own. I think that’s the hallmark of a true and truly unique talent — and a sign that the artist in question understands the assignment, as it were: to find the throughlines between their perspective and the art itself; to preserve the original message and add one of your own, like a constructive game of Telephone. There’s an art to being a cover artist and an art to being an archivist.

Why you'll love it...

Cadet Records was one of the oddest jazz labels to ever issue LPs in America; it was the jazz imprint of Chess Records, and most of its releases came from the minds of two men: Charles Stepney and Richard Evans. The latter man ran point on the short-lived label's lone holiday release, which found the label's house band – which included luminaries like Phil Upchurch – doing their thing on 10 holiday classics. A curio for the cratedigger who already owns every Dorothy Ashby album, this album was AAA remastered by Barry Grint.

Limited to 2,000 copies, the VMP exclusive version of The Soulful Strings' The Magic of Christmas is pressed 180g Opaque Olive vinyl at Independent Record Pressing (IRP). The AAA 1 LP will arrive in a single, tip-on, foil-stamped and numbered jacket. The lacquers were cut by Barry Grint at Alchemy Mastering at AIR.

180 gram audiophile vinyl
Sleeve finished with linen laminate
Recorded live at the Philharmonic Hall at Lincoln Center, New York, February 12, 1964
Featuring Herbie Hancock, George Coleman, Ron Carter and Tony Williams
Album produced by Teo Macero
Black vinyl

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.

The collaborative album 5 Na Bossa was originally released in 1965 on Philips Brazil and featured some of the top player of the genre. If you are into the sound of Nara Leão, Edu Lobo and Tamba Trio this is a magical encounter, bringing together Nara's soft voice, Edu's battering guitar and Tamba's swinging vocals. Featuring classic compositions like ‘Reza’ and ‘Zambi’ this album is a must have for any fans of the latin jazz legacy. The set was recorded live at the Paramount Theater in Sao Paulo.

Recorded in 1965 at Rudy Van Gelder's studio in New Jersey, Roland Kirk's album Rip, Rig and Panic finds him teamed with the most awesome rhythm section he ever recorded with: pianist Jaki Byard, bassist Richard Davis, and drummer Elvin Jones. It received a 5 stars rating on AllMusic, with reviewer Thom Jurek stating that "Rip, Rig, and Panic may be pre-Rahsaan Roland Kirk's greatest outing. Kirk and his quartet moved through a series of musicological changes that defined him as an artist at the time. Five of the seven compositions are his, and reach through each of the phases that Kirk was interested in integrating into his compositional and improvisational voice. Positively smashing."

A cult album from 1968 that has long since become known as a groove classic across genre boundaries, now for the first time as a deluxe edition, freshly remastered, with bonus tracks and attractive packaging. Along with Alice Coltrane, Dorothy Ashby was the only world-famous jazz harpist. Thanks to deep grooves and sophisticated orchestral sounds, “Afro-Harping” is her most famous album to date, which is continually breathed new life into thanks to samples and remixes by Pete Rock, Kendrick Lamar, Jay Dee (aka J Dilla), Madlib, Flying Lotus and others. Remastered from the original ¼-inch tapes by Alex Wharton/Abbey Road Studios and featuring eight strong, previously unreleased alternate tracks, including an explosive version of the single “Soul Vibrations”, the classic album is now available for the first time in a high-quality format appropriate to its ever-growing importance.

2-lp: gatefold sleeve, padded black inner sleeves, illustrated eight-page insert with detailed liner notes by Seán Casey/Shindig! magazine.

Even by the high-water marks set by Herbie Hancock’s tremendous 1960s Blue Note output, 1965’s Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist’s career. Hancock is joined here by his Miles Davis Quintet bandmates Ron Carter on bass and Tony Williams on drums, along with Freddie Hubbard on trumpet and George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, “Eye of the Hurricane,” and “Dolphin Dance.”

Time and troubles seem to melt away during the fifteen enrapturing minutes of “Idle Moments,” the opening track of Grant Green’s sublime 1963 album of the same name. As the piece unhurriedly unfurls all the unique colours of the ensemble present themselves with Green’s soulful guitar joined by Duke Pearson’s elegant piano, Bobby Hutcherson’s crystalline vibraphone, Bob Cranshaw’s reassuring upright bass, Al Harewood’s subtle drums, and Joe Henderson’s magnificent tenor saxophone. The pace quickens for the rest of this tremendous set including the nimble Green original “Jean de Fleur,” a bluesy take on John Lewis’ MJQ standard “Django,” and a driving performance of Pearson’s original “Nomad.”

Elemental Music, together with Universal Music Spain presents a new vinyl reissue of “Samba ’68“, the only album released on the Verve label by prolific Brazilian singer Marcos Valle. In 1968, Valle was commissioned by Verve to record his Brazilian hits in English in order to capitalize on the then-huge Getz-Gilberto-Jobim-Mendes-Astrud market. Marcos’ rapid and stunning artistic growth is apparent on this brilliant Bossa Nova album. Fans of Sérgio Mendes and Astrud Gilberto (both of whom recorded tons of Valle tunes) will enjoy it immensely, for “Samba ’68” is definitely one of the ultimate “loungy” records. “Samba ‘68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout that wears its dated sound quite well. Marcos Valle interprets eleven of his own songs, including Brazilian standards like ‘Chup Chup, I Got Away,’ ‘Batucada’ and ‘So Nice (Summer Samba),’ as well as new tracks like ‘Crickets Sing for Anamaria’ and ‘The Answer.’ The vocal harmonies of his wife (the Anamaria of the song title) provide a beautiful counterpoint to Valle’s voice on several tracks, making Samba ‘68 one of the best Brazilian crossovers of the 1960s.”(John Bush, AllMusic) Marcos Valle was the Renaissance man of Brazilian pop, a singer/songwriter/producer who straddled the country’s music world from the early days of the Bossa Nova craze well into the fusion-soaked sound of ‘80s Brazilian popular music. Though his reputation in America never quite compared to contemporaries like Caetano Veloso, Milton Nascimento, Gilberto Gil, or even Tom Zé. Valle is one of the most important and popular performers in the history of Brazilian pop.

Mixed Bag is the debut studio album by Richie Havens, released in 1966. Mixed Bag is frequently cited as the singer's best work,[1] and was his first album to appear on Billboard's charts (appearing on both the jazz and pop charts). The recording was the first to introduce a wider audience to Havens's rich baritone vocals and the full-sound of Havens's distinct guitar style (thumb-chorded and played in open E tuning).[1] Electric Havens and Mixed Bag were two of the records reported among the personal collection of Havens' one-time Greenwich Village buddy, Jimi Hendrix.

1961 Art Blakey and his Jazz Messengers made their only recording for the label Impulse! Records. It marked a turning point for the popular hard bop formation as it was their first appearance as a sextet with trombonist Curtis Fuller, and secondly their last recording with pianist Bobby Timmons. Also unusual is the fact that only one piece by a band member was on the program and otherwise only standards were played.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve.

On his second and last album for Impulse! Records, trumpeter Freddie Hubbard went all out: with a first-class orchestra conducted and arranged by Wayne Shorter, occasionally reinforced by strings, and a varied repertoire that seamlessly combined standards with originals by Hubbard.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve

Jamaican-born jazz trumpeter Dizzy Reece recorded one of his best opus in 1962. Released on the New Jazz label the album featured greats such as bassist Ron Carter, renowned saxophonist Cecil Payne and pianist Hank Jones. It’s a beautifully recorded and sequenced album, the compositions reflecting Reece’s interest in the music of the Asian continent and regions of North Africa, with each piece transitioning nicely into the next. Asia Minor would be the last session Reece would lead until 1967/68. A fixture of the European jazz scene of the Fifties, Reece came to New York in 1959. This intriguing, Eastern-flavored date, is still regarded has one of the best example of cross-pollination in the jazz genre.

Sourced From The Original Master Tapes; Out of print since the 1960s

Now joining Jackpot Record's ever-expanding collection of Martin Denny re-issues is the hypnotic "visual sound" of Exotic Percussion, which has not been on vinyl since its original release in 1961.

His production on Exotic Percussion is ambitious, adventurous, and fascinatingly futuristic, especially when a tumbler with ice was still the preferred way to let loose. Xylophones and chimes swim from ear to ear; traditional jazz instrumentation collides with such musical oddities as boo bas, shamisens, Manga harp, and Burmese gongs.

As always, the choice of compositions on a Martin Denny record is a bizarre yet exciting spin around the globe, but this one is even weirder than usual. From the faster-than-light of "Cumana" to the luscious groove of "Moonlight On The Ganges" (made famous by Frank Sinatra and a track that is still being played on a loop at Disneylan's Jungle Cruise attraction), it's a whiplash of a ride. But the stand-out on the record is the combo of "Misirlou" (which would be made famous a few years later by Dick Dale and even decades later with its appearance in Pulp Fiction).

So join the conga line and head out into the street as Martin Denny once again creates a world we yearn to return to and an album we can always revisit.

Reissue of this incredibly wild proto-punk garage 45 released in Mexico in 1965!!! 500 copies only!!!